Chris Evans’ post-superhero journey has been less than stellar, marked by a string of mediocre films. In the case of “Pain Hustlers,” this trend persists, and what makes it even more disappointing is the inclusion of Emily Blunt, fresh from the success of “Oppenheimer.” Unfortunately, her talents are underutilized in this new Netflix film that centers around her character. Blunt deserves a vehicle that revolves around her, and while she excels in her portrayal of Liza Drake, the film’s predictable storyline and lackluster moments leave both the actress and the audience yearning for more.
In “Pain Hustlers,” Blunt takes on the role of Liza Drake, a single mother desperately trying to navigate the complexities of her modest life. The narrative introduces familiar tropes, including a dysfunctional family dynamic and a child with a medical condition, highlighting Liza’s determination to turn her life around. Enter Pete Brenner (Evans), who presents her with a dubious opportunity to join a sinking pharmaceutical company led by Jack Neel (Andy García). Opting for the not-so-legal route, Liza and Pete manage to put themselves and their company on the map. However, as the adage goes, what goes up must come down, and for Liza, the descent is harsh.
The plot of “Pain Hustlers” bears a striking resemblance to “The Wolf of Wall Street,” drawing parallels between both films as they depict the rise and fall of individuals chasing a high-flying lifestyle at the cost of resorting to fraud and indirectly affecting the lives of many. However, unlike Martin Scorsese’s 2013 film, which skillfully weaves brilliant moments and fleeting victories for its characters, “Pain Hustlers” falls into the trap of becoming a dull recount of Liza’s life.
David Yates, renowned for directing the final four Harry Potter movies, showcases his world-building prowess in the initial moments of “Pain Hustlers.” Within a brief span, the audience gains insight into Liza’s world, her relationships with her mother and sister, her financial struggles, and her role as a devoted parent. However, this is where the film falters. By narrowing its focus solely on Liza’s struggles, “Pain Hustlers” misses the opportunity to be an audacious tale of hustlers who metaphorically cause more pain than the relief they promise.
The film becomes a predictable journey, robbing it of the element of surprise or a fresh perspective. Despite a brilliant cast, with Emily Blunt delivering a standout performance, the rest of the ensemble is left with little substance to work with. The film’s sheer lack of material is evident, and it’s a disheartening sight to witness exceptional performers not getting the recognition they deserve.
While “Pain Hustlers” may fade into the realm of forgettable dramas, the pain of watching talented actors being underused lingers. Even prescribed medication can’t alleviate the agony of witnessing a potentially engaging narrative succumb to mediocrity. The disappointment stems not only from the film’s lack of impact but also from the unfulfilled potential of a cast that could have elevated the material with the right script and direction.
In conclusion, “Pain Hustlers” adds to the list of Chris Evans’ post-superhero endeavors that fail to leave a lasting impression. Despite the commendable efforts of the cast, particularly Emily Blunt, the film’s uninspired storytelling and predictability make it a forgettable experience. As audiences, we find ourselves yearning for a more substantial cinematic journey, one that not only showcases the talents of its actors but also delivers a narrative that transcends the ordinary and leaves a lasting impact.
